Ny!
Gordon Bunshaft and SOM
Building Corporate Modernism
«“Bunshaft might not have had much to say about his own projects but thankfully Adams does, and he provides excellent readings of individual projects in chapters that parse out the stylistic phases of the former’s work.”—Anthony Paletta, Metropolis
“Adams marshals a treasure trove of archival materials . . . to disentangle myths and misconceptions about Bunshaft that have clouded our understanding of both his role at SOM and his place in 20th-century American culture.”—Jeffrey Lieber, Architectural Histories
“Adams has laid out an entirely original account, which in its scope encompasses art and architectural history, biography, and cultural and social history. Spanning 80 years, his book brings an expansive cast of people to life, chronicles changing styles and mores, and resets our understanding of many of Bunshaft’s buildings.”—Jeffrey Lieber, Architectural Histories
“Adams offers a genuinely new portrait of Gordon Bunshaft and fresh observations about American corporate architecture and practice at midcentury.”—Mary McLeod, Columbia University
»
A nuanced portrait of the 20th-century architect whose work defined the built aesthetic of corporate America
Gordon Bunshaft's (1909-1990) landmark 1952 design for Lever House reshaped the Manhattan skyline and elevated the reputation of Skidmore, Owings & Merrill (SOM), the firm where he would spend more than 40 years as a partner.
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A nuanced portrait of the 20th-century architect whose work defined the built aesthetic of corporate America
Gordon Bunshaft's (1909-1990) landmark 1952 design for Lever House reshaped the Manhattan skyline and elevated the reputation of Skidmore, Owings & Merrill (SOM), the firm where he would spend more than 40 years as a partner. Although this enigmatic architect left behind few records, his legacy endures in the corporate headquarters, museums, and libraries that were built in his distinctive modernist style. Bunshaft's career was marked by shifts in material. Glass and steel structures of the 1950s, such as New York's Chase Manhattan Bank, gave way to revolutionary designs in concrete, such as the Beinecke Rare Book and Manuscript Library at Yale University and the doughnut-shaped Hirshhorn Museum in Washington, DC. Bunshaft's collaborations with artists, including Isamu Noguchi, Jean Dubuffet, and Henry Moore, were of paramount importance throughout his career.
Nicholas Adams explores the contested line between Bunshaft's ambition for acclaim as a singular artistic genius and the collaborative structure of SOM's architectural partnership. Bunshaft received the Pritzker Architecture Prize in 1988 and remains the only SOM partner to have achieved this distinction. Adams counters Bunshaft's maxim that "the building speaks for itself" with necessary critical context about this modernist moment at a time when the future of Bunshaft's iconic works is very much in question.
Gordon Bunshaft's (1909-1990) landmark 1952 design for Lever House reshaped the Manhattan skyline and elevated the reputation of Skidmore, Owings & Merrill (SOM), the firm where he would spend more than 40 years as a partner. Although this enigmatic architect left behind few records, his legacy endures in the corporate headquarters, museums, and libraries that were built in his distinctive modernist style. Bunshaft's career was marked by shifts in material. Glass and steel structures of the 1950s, such as New York's Chase Manhattan Bank, gave way to revolutionary designs in concrete, such as the Beinecke Rare Book and Manuscript Library at Yale University and the doughnut-shaped Hirshhorn Museum in Washington, DC. Bunshaft's collaborations with artists, including Isamu Noguchi, Jean Dubuffet, and Henry Moore, were of paramount importance throughout his career.
Nicholas Adams explores the contested line between Bunshaft's ambition for acclaim as a singular artistic genius and the collaborative structure of SOM's architectural partnership. Bunshaft received the Pritzker Architecture Prize in 1988 and remains the only SOM partner to have achieved this distinction. Adams counters Bunshaft's maxim that "the building speaks for itself" with necessary critical context about this modernist moment at a time when the future of Bunshaft's iconic works is very much in question.
Detaljer
- Forlag
- Yale University Press
- Innbinding
- Innbundet
- Språk
- Engelsk
- ISBN
- 9780300227475
- Utgivelsesår
- 2019
- Format
- 29 x 23 cm
Anmeldelser
«“Bunshaft might not have had much to say about his own projects but thankfully Adams does, and he provides excellent readings of individual projects in chapters that parse out the stylistic phases of the former’s work.”—Anthony Paletta, Metropolis
“Adams marshals a treasure trove of archival materials . . . to disentangle myths and misconceptions about Bunshaft that have clouded our understanding of both his role at SOM and his place in 20th-century American culture.”—Jeffrey Lieber, Architectural Histories
“Adams has laid out an entirely original account, which in its scope encompasses art and architectural history, biography, and cultural and social history. Spanning 80 years, his book brings an expansive cast of people to life, chronicles changing styles and mores, and resets our understanding of many of Bunshaft’s buildings.”—Jeffrey Lieber, Architectural Histories
“Adams offers a genuinely new portrait of Gordon Bunshaft and fresh observations about American corporate architecture and practice at midcentury.”—Mary McLeod, Columbia University
»